ohel (אֹהֶל) = tent; an easily dismantled dwelling for nomads and/or shepherds.
ohel mo-eid (אֺהֶל מוֹעֵד) = Tent of Meeting, Tent of Appointment. Most often, the temporary structure that God inhabits in the center of the Israelite camp from Mount Sinai to Shiloh in Canaan.1
tent = “a collapsible shelter of fabric (such as nylon or canvas) stretched and sustained by poles and used for camping outdoors or as a temporary building” (Merriam Webster 2026)
For years I assumed that the ohel mo-eid was a ancient version of the tent we erect today for a special event outdoors—a framework of metal poles covered with white plasticized cloth, sometimes with clear plastic windows, and an opening at one end. We bring folding chairs into these tents, and maybe folding tables or a portable stage with a sound system, the cords snaking out under the bottom of the tent fabric. For a nighttime event we add electric lights, but by day plenty of light comes through the white roof and walls.
The framework of the ohel mo-eid was made with well-spaced timber studs, I used to think, and fabric was draped over this framework inside and out. Then two layers of leather were added to the roof for waterproofing. So no light would come through the ceiling, but light would filter through the goat-hair fabric outside walls and the tapestry inside walls.
I almost had it right. But this year I looked at the measurements, and discovered my mistake.
The box
This week’s Torah reading combines the last two portions in the book of Exodus, Vayakheil (Exodus/Shemot 35:1-38:20) and Pekudei (Exodus 38:21-40:38), in which the Israelites craft and assemble the ohel mo-eid as a dwelling-place for God. The description of the process is almost identical with the instructions God gave to Moshe (“Moses” in English) earlier in Exodus, in the portion Terumah, and no easier to follow. The Torah describes the measurements and the materials of the constituent parts, but only vaguely indicates how they are put together. So first let me describe the ohel mo-eid when it is already assembled.
Imagine a box 10 cubits wide,10 cubits high, and 30 cubits long. (10 cubits is roughly 15 feet or 3.3 meters.) The long walls face north and south; the short walls face east and west. This structure, about as big as a one-bedroom apartment with very high ceilings, is made out of boards of acacia wood. A giant cloth is draped over the outside of the box, covering the top and hanging down over the walls on three sides. The front end consist of five wood pillars and a curtain.
To make the giant cloth covering, Israelite women weave eleven lengths of fabric out of undyed goat hair, each one 30 cubits long by 4 cubits wide. (Four cubits was the standard width of an Egyptian loom.) They fasten these together into a single rectangle that measures 30 by 44 cubits.
After the goat-hair cloth has been draped over the wood structure, two layers of leather are laid across the roof.2
Inside, the structure is divided into two rooms by a colorful curtain hanging from the ceiling. The back room, the Holy of Holies, is 10 cubits square, and contains only the gold-plated ark—and God’s manifestation above the ark, in the space between the two gold sculptures that rise at either end of the lid.3 The front room is 20 cubits by 10 cubits, and contains the lampstand (menorah), the bread table, and the incense altar.4
The inside is what counts
The description of making the ohel mo-eid in the portion Vayakheil this week begins, like God’s instructions in the earlier portion Terumah, with the inside tapestry, not with the supporting wooden structure.
Then everyone wise of mind among the makers of the work made the mishkan. Of ten cloths of twisted fine linen and blue and red-violet and scarlet [wool], in a design of keruvim they made them.5 (Exodus 36:8)
mishkan (מִשְׁכָּן) = dwelling-place (usually God’s dwelling place, “tabernacle” in English).
keruvim (כְּרֻבִים) = hybrid beasts with wings and human faces.
Each of the ten tapestries is 28 cubits long by 4 cubits wide (about 42 feet by 6 feet, or 12.8 by 2 meters). Five cloths are sewn together into one large hanging measuring 28 cubits by 20 cubits, and the other five cloths are sewn into a similar hanging. Loops of blue yarn were sewn down one edge of each large hanging.
Then they made fifty clasps of gold, and they joined the hangings to one another with the clasps. And the mishkan became one piece. (Exodus 36:13)
Apparently what counts as God’s mishkan is the space defined by the interior tapestries hanging over a packed-earth floor. A wooden structure is required to hold up the tapestries, and the completed “tent” will have other material draped over the exterior. But the beautiful tapestries define God’s dwelling-place. Appearances matter.
Wooden walls
The middle 10 cubits of the combined tapestry makes the cloth ceiling of the mishkan. That leaves 9 cubits of tapestry hanging down on each side, in front of the long north and south wooden walls. At the back end, the leftover tapestry hangs down in front of the west wall. (The folds of fabric that would naturally form at the right-angle corners in back are not mentioned in the Torah.)
Between the bottom of the tapestry and the packed-earth floor, there is a gap of one cubit—about 18 inches. So a priest would see about 18 inches of the wooden framework at the bottom of the wall. (On the outside, the large goat-hair covering would come down to the ground.)
What does the wooden part of the ohel mo-eid look like?
And they made the planks for the mishkan of acacia wood, standing upright: ten cubits the length of the plank, and one and a half cubits the width of each plank. Two pegs for each plank, parallel one to one; thus they did for all the planks of the mishkan. (Exodus 36:20-22)
Each plank is a cubit and a half wide—about 27 inches. Two pegs (or tenons) come out of the bottom end of each plank.
And they made the planks for the mishkan: 20 planks for the Negev side, to the south. (Exodus 36:23)
Imagine 20 boards standing upright, each board a cubit and a half wide. If each plank touches its neighbors, it would make a continuous wall 30 cubits long—the exact length of the mishkan’s interior. Therefore (I realized this year) there are no gaps between the planks.
And they made 40 silver adanim underneath the 20 planks, two adanim under each plank for its two pegs, and two adanim under each [other] plank for its two pegs. (Exodus 36:24)
adanim (אֲדָנִים) = sockets; pedestals.
The two pegs (tenons) at the bottom of each plank fit into two sockets (mortises) in the base under the wall. Probably the base consists of a row of pedestals with sockets carved into them.
The long northern wall is the same as the southern wall. The short western wall in the back, behind the ark, is also continuous wood planking: six regular planks and two corner-posts.
Next the Torah describes how the planks are secured at the top.
And they made running-bars of acacia wood, five running-bars for the planks on one side of the mishkan, and five running-bars for the planks on the second side of the mishkan, and five running-bars for the planks of the mishkan at the rear, toward the sea. And they made a middle running-bar, to run amidst the planks from end to end. (Exodus 36:31-33)
We never learn where all these running-bars are positioned. Perhaps running-bars along the tops of the wooden walls hold up the ceiling section of the tapestry.
Only after this obscure description do we find out that the bars are attached to the planks with gold rings.
And they overlaid the planks with gold, and they made rings of gold as receptacles for the running-bars, and thy overlaid the running-bars with gold. (Exodus 36:34)
Maybe all the running-bars are visible, pinning the tapestry close to the wooden wall. That would explain why they are overlaid with gold. But it seems wasteful to apply gold leaf to the entire surface of each plank, instead of just the bottom end visible under the tapestry.
Next the Torah portion describes the colorful curtain that will separate the mishkan into two rooms, with the Holy of Holies in back. This curtain is framed by four pillars of gold-covered acacia wood, each on its own silver pedestal.
Last comes the description of the front of the structure, facing east.
Then they made a screen for the entrance of the ohel, of blue, red-violet, scarlet, and white linen: the making of an embroiderer. And they overlaid their five pillars and their clasps and their binding-rings with gold, and their five adanim with copper. (Exodus 36:37-38)
Low lighting
No natural light can filter through the roof of the ohel mo-eid, since it is covered with leather. And no natural light can penetrate the solid wood walls on three sides of the building; at best, there might be thin cracks of light at the bottom, between pedestals. Daylight would only filter through the embroidered screen covering the front entrance.
Unlike a portable party tent today, the ohel mo-eid would be dim, even dark, inside during the day.
There are no electric lights, of course, but the priests must light the seven oil lamps of the menorah every sunset, and let them burn until sunrise.6 Since the front room is 20 cubits or 30 feet long, the back corners of the room would remain in shadow.
Furthermore, the smoke from the incense the high priest burns inside the mishkan would rise toward the ceiling, which has no hole or chimney. When the Israelites camp in the same place for days, the mishkan would fill up with smoke. All of its gold furnishings and colorful tapestry could only be glimpsed through the dim and smoky light.
The interior of the ohel mo-eid is designed to please God, so that God will be content to dwell there. The only human beings who see the inside of the mishkan are the priests: Aharon (“Aaron” in English) and his sons, and eventually his grandsons. They need to be reminded that their duties inside the sacred space are holy, and must be taken very seriously.7 Seeing the golden furnishings and the elaborate tapestries and the curtain hiding the ark in dim light, through the smoke of incense, would add to the feeling of mystery.8
But all the Israelites can see the exterior of the ohel mo-eid. On three sides they see only goat-hair cloth, unornamented. In front, behind the outdoor altar, they see the entrance: a fabric screen, elaborately embroidered in vivid blue, red-violet, and scarlet. This is enough to indicate that something royal and amazing is inside, enough so that they can believe God dwells there.
I think that if the entire tent, including the entrance, were covered with nothing but undyed goat-hair, it would be harder to summon the feeling of God’s presence. Personally, I feel uplifted in a forest, or in a gothic cathedral (as long as I igore the statues representing a religion that is not my own). If I attend a Jewish service in a room with no more glamor than a high school cafeteria, I try to avoid looking up from my prayerbook. A view of a large, colorful embroidery would help a lot, with or without keruvim.
Appearance matters.
- For exceptions see last week’s post, Ki Tisa: Meeting Outside the Camp.
- See my post Terumah: Under Cover.
- See my post Terumah: Cherubs Are Not for Valentine’s Day.
- See my posts Terumah: Bread of Faces, Terumah: Tree of Light, and Terumah: Wood Inside.
- In Exodus 36:8-36:37 the text literally says “he made” (asah, אָשָׂה) when it means “they made”, and says “and he made” (vaya-as, וַיַּאַשׂ) when it means “and they made”—perhaps because Moshe is ultimately responsible for everyone’s work, or perhaps due to scribal carelessness.
- Exodus 27:20-21, Leviticus 21:3-4.
- See my post Shemini: Follow the Rules.
- When it is time to break camp, dismantle the ohel mo-eid, and journey on, the priests must cover the ark, menorah, bread table, and incense altar first, in the dim light. See my post Bemidbar: Don’t Look.




















